Helena KÖHNE  Mezzo-soprano
 
  BIOGRAPHY  

 

Wonderfully keen was the portrayal of Adelaide as future mother-in-law, who tardily discovers her eroticism and would rather like to test her potential sons-in-law’s manhood herself. With her rich, powerful alto voice Helena Köhne draws a strong vocal and dramatic profile.
Opernwelt 2/2018 Peter Krause

Guest engagements have recently taken the Contralto as the OLD BURYA in ‘Jenufa’ to the Opéra Dijon and the Opéra Caen, as BIANCA in ‘The Rape of Lucretia’ to the Cologne Opera House, as ADELAIDE in ‘Arabella’ to the Kiel Opera, as WESENER’S MOTHER in ‘Die Soldaten’ to the May Wiesbaden Festival, as AMME in ‘Boris Godunov’ and as ANNINA to the Wiesbaden State Theatre. Moreover, she sang the 3rd DAME in ‘Die Zauberflöte’ in a Barrie Kosky production at the Gran Teatre del Liceu, Barcelona.

Helena Köhne started her musical studies at the Hamburg Conservatory with Klaus Bülow and completed them at the University of Arts in Berlin with Prof. Jutta Schlegel.
In summer 2003 she achieved her singing diploma. And was subsequently been coached by Ruthild Engert.

The singer is holder of a scholarship of the Walter Kaminski Foundation and was a semi-finalist of the German National Vocal Competition. Besides, at the Hans Eisler Competition she was awarded the Prize for the Best Interpretation of Contemporary Music in Nicolai Zinke’s ‘one-woman’ opera SWAP.

She participated in courses with Ingeborg Danz at the international Bach Academy (dir. Helmut Rilling) and in scenic workshops with Vera Nemirova at the Academy of Arts in Berlin.

Helena Köhne is a much sought-after soloist. Works like the Christmas Oratorio, the Mozart Requiem, the Schumann Requiem, Frank Martin’s ‘In Terra Pax’ and various Passions she sang e.g. with the Berlin Philharmonics, at the Hamburg Music Hall, the Oetkerhalle Bielefeld.

The singer succeeded with opera and operetta parts in Brandenburg, Freiburg and Kassel and at the Festival Eutin, where she enjoyed great success as CZIPRA and PALMATICA.

In 2012 Helena Köhne portrayed the MOTHER in Braunfels’ Opera ‘Die Verkündung’ in guest performances at the Kaiserslautern Theatre and FILIPJENA in ‘Eugen Onegin’ at the Görlitz Theatre. From 2012 until 2014 she could be seen as ADELAIDE in ‘Arabella’ and MARTHE SCHWERTLEIN in ‘Faust’ at the Weimar National Theatre. She also sang Mahler’s 8th Symphony with the Berlin Philharmonics.

The artist portrayed the OLD BURYA in ‘Jenufa’ at the Görlitz Theatre and at the Oldenburg State Theatre she succeeded as FILIPJEWNA in ‘Eugen Onegin’

In 2019 she returned to the Kaiserlautern Theatre as the OLD BURYA. In 2019/20 she performed in the contemporary opera STRAFEN at the Opéra de Dijon and was FILIPJEVNA at the Rostock Popular Opera.

Because of the corona pandemic her engagement as the OLD BURYA at the Flemish Opera Anwerp in autumn 2020 was cancelled.
In 2021 Helena Köhne makes her debut as ERDA in ‘Rheingold’ and as SCHWERLEITE in ‘Die Walküre’ at the Wiesbaden State Theatre.

 

 
 
 
REVIEWS
 
Opéra de Dijon – Les Chatiments – LA MÈRE/MADAME SAMSA
Helena Köhne with her smooth alto timbre as the mother.
Klassikfavori
www.klassikfavori.de
The alto Helena Köhne is a magnificent Madame Samsa; of full sound and spotless eloquence, intensified by her play , which immediately met with acclamation.
Classiquenews.com
www.classiquenews.com
Madame Samsa is sung by Helena Köhne, who has a beautiful alto voice, which already attracted attention with her portrayal of the grandmother in Jenufa.
ForumOpera.com
www.forumopera.com
....his mother Madame Samsa, sung by the alto Helena Köhne with her beautiful, rich alto voice..
Premiere Loge
www.premiere-loge.fr
The roles of La Mère / Madame Samsa, which are so coherent, they require from Helena Köhne a voice, secure in the high registers changing suddenly into extremely low registers at the end.
Olyrix
www.olyrix.com
Oper Köln – Rape of Lucretia - BIANCA
Helena Köhne as beautifully singing nurse Bianca.
Der Opernfreund
www.deropernfreund
Opéra de Dijon – Jenufa – ALTE BURYA
Also worth mentioning Helena Köhne with her vivid interpretation of the Old Burya.
Concertonet
www.concertonet.com
Among the smaller roles, Helena Könhe with her fabulous contralto voice is particularly worth mentioning.
ClassiqueNews
www.classiquenews.com
The alto soprano Helena Köhne gives a splendid interpretation of the Old Burya: her figure, her acting, her words and her singing are real. Thus, it is no surprise her 3 appearances were a true gain.
ForumOpera
www.forumopera.com
Oper Kiel - Arabella - ADELAIDE
Wonderfully keen was the portrayal of Adelaide as future mother-in-law, who tardily discovers her eroticism and would rather like to test her potential sons-in-law’s manhood herself. With her rich, powerful alto voice Helena Köhne draws a strong vocal and dramatic profile
Opernwelt 2/2018 Peter Krause
Staatstheater Wiesbaden - Boris Godunov - AMME
'At their side the dark alto voice of Helena Köhne.'
Der neue Merker
www.der-neue-merker.eu
'...meanwhile Helena Kohne as a matronly nanny trumps with pastose alto registers.'
Der neue Merker
www.der-neue-merker.eu
Wiesbaden State Theatre - La Traviata - ANNINA
'In the role of Annina, Helena Koehne with her profound voice material was very convincing.'
Der Opernfreund
www.deropernfreund.de
Arabella - ADELAIDE - Weimar National Theatre
'Helena Koehne as his wife impressed with beauty of sound and perfect acting'
Klaus Billand, Der neue Merker
 
 
 
ON STAGE
Oper Köln - The Rape of Lucretia – BIANCA
 
Oper Köln - The Rape of Lucretia – BIANCA
 
Opera de Dijon - Jenufa – ALTE BURYA
(crédit photos Opéra de Dijon © Gilles Abegg)
 
Opera de Dijon - Jenufa – ALTE BURYA
(crédit photos Opéra de Dijon © Gilles Abegg)
 
Oper Kiel - Arabella - ADELAIDE
 
Eutiner Festspiele - Der Vogelhändler - ADELAIDE
 
Eutiner Festspiele - Der Vogelhändler - ADELAIDE
 
Eutiner Festspiele - Der Vogelhändler - ADELAIDE
 
Theater Görlitz - Jenufa - ALTE BURYA
 
Staatstheater Oldenburg - Eugen Onegin - FILIPJEWNA
 
Nationaltheater Weimar - Falstaff
Foto Erhard Driesel
 
Nationaltheater Weimar - Falstaff
Foto Erhard Driesel